Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality

The musical, sonic, and literary world constructed by Argentine composer Marta Lambertini (San Isidro, 1937; Buenos Aires, 2019) invites us to immerse ourselves in her work, particularly in her operas starring women: Alice, Hildegard, and Cinderella. In this text, I propose to delve into the complex...

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Detalles Bibliográficos
Autor principal: Lobato, Silvia
Formato: Artículo revista
Lenguaje:Español
Publicado: Universidad Nacional del Litoral 2025
Materias:
Marta Lambertini
Hildegard
contemporary opera
ópera contemporánea
Acceso en línea:https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14489
Aporte de:
Biblioteca Virtual - Publicaciones (UNL) de Universidad Nacional del Litoral
id I26-R133-article-14489
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spelling I26-R133-article-144892025-09-26T17:37:36Z Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality Hildegard (2001) de Marta Lambertini. Voces, silencios, música y sexualidad Lobato, Silvia Marta Lambertini Hildegard contemporary opera Marta Lambertini Hildegard ópera contemporánea The musical, sonic, and literary world constructed by Argentine composer Marta Lambertini (San Isidro, 1937; Buenos Aires, 2019) invites us to immerse ourselves in her work, particularly in her operas starring women: Alice, Hildegard, and Cinderella. In this text, I propose to delve into the complex plot of voices, sounds, and silences unfolding in Hildegard (2001), the composer´s third opera, premiered in June 2002 at the Teatro Colon´s Experimental Center, after overcoming several obstacles due to the context of the political, social, and economic crisis in Argentina, and the circumstances of its production. I am insterested in offering a «kaleidoscopic» wiew of her work, based on the study of the multiple layers that comprise it: the prose, musical, and performance texts, to which are added the voices of the composer, librettist, musical director, stage director, and journalistic critics, with the aim of adding meanings in an interpretive reading from the perspective of feminist and gender studies. I question the feminist agency of the work, both in its narrative and in the stages of creation and production. Likewise, exploring the musical narrative, in terms of sound, gender, and sexuality, opens up new meaning to the construction of “the feminine” in contemporary opera.  El mundo musical, sonoro y literario construido por la compositora argentina Marta Lambertini (San Isidro, 1937; Buenos Aires, 2019) nos invita a sumergirnos en su obra, en particular, las óperas protagonizadas por mujeres: Alice, Hildegard y Cenicienta. En este texto propongo acercarnos a la trama compleja de voces, sonidos y silencios que despliega Hildegard (2001), la tercera ópera de la compositora, estrenada en junio de 2002 en el Centro de Experimentación del Teatro Colón, después de sortear varios obstáculos por el contexto de crisis política, social y económica en Argentina, y circunstancias propias de su producción. Me interesa plantear una mirada «caleidoscópica» de su obra, a partir del estudio de las múltiples capas que la conforman, desde el texto en prosa, el musical y el performático, al que se agregan las voces de la compositora, la libretista, el director musical, la directora de escena y la crítica periodística, con la finalidad de sumar sentidos, en una lectura interpretativa desde los estudios feministas y de género. Me pregunto acerca de la agencia feminista de la obra, tanto en su narrativa como en las etapas de creación y producción. Asimismo, indagar en la narrativa musical, en términos de lo sonoro, el género y la sexualidad, abre nuevos sentidos a la construcción de «lo femenino» en la ópera contemporánea. Universidad Nacional del Litoral 2025-07-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/zip https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14489 10.14409/rism.2025.27.e0082 Revista del ISM; Vol. 1 No. 27 (2025): Revista del Instituto Superior de Música; e0082 Revista del ISM; Vol. 1 Núm. 27 (2025): Revista del Instituto Superior de Música; e0082 2362-3322 1666-7603 10.14409/rism.2025.27 es https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14489/20302 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14489/20322 Derechos de autor 2025 Silvia Lobato https://creativecommons.org/licenses/by/4.0
institution Universidad Nacional del Litoral
institution_str I-26
repository_str R-133
container_title_str Biblioteca Virtual - Publicaciones (UNL)
language Español
format Artículo revista
topic Marta Lambertini
Hildegard
contemporary opera
Marta Lambertini
Hildegard
ópera contemporánea
spellingShingle Marta Lambertini
Hildegard
contemporary opera
Marta Lambertini
Hildegard
ópera contemporánea
Lobato, Silvia
Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality
topic_facet Marta Lambertini
Hildegard
contemporary opera
Marta Lambertini
Hildegard
ópera contemporánea
author Lobato, Silvia
author_facet Lobato, Silvia
author_sort Lobato, Silvia
title Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality
title_short Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality
title_full Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality
title_fullStr Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality
title_full_unstemmed Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality
title_sort hildegard (2001) by marta lambertini. voices, silences, music and sexuality
description The musical, sonic, and literary world constructed by Argentine composer Marta Lambertini (San Isidro, 1937; Buenos Aires, 2019) invites us to immerse ourselves in her work, particularly in her operas starring women: Alice, Hildegard, and Cinderella. In this text, I propose to delve into the complex plot of voices, sounds, and silences unfolding in Hildegard (2001), the composer´s third opera, premiered in June 2002 at the Teatro Colon´s Experimental Center, after overcoming several obstacles due to the context of the political, social, and economic crisis in Argentina, and the circumstances of its production. I am insterested in offering a «kaleidoscopic» wiew of her work, based on the study of the multiple layers that comprise it: the prose, musical, and performance texts, to which are added the voices of the composer, librettist, musical director, stage director, and journalistic critics, with the aim of adding meanings in an interpretive reading from the perspective of feminist and gender studies. I question the feminist agency of the work, both in its narrative and in the stages of creation and production. Likewise, exploring the musical narrative, in terms of sound, gender, and sexuality, opens up new meaning to the construction of “the feminine” in contemporary opera. 
publisher Universidad Nacional del Litoral
publishDate 2025
url https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14489
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first_indexed 2025-09-15T05:02:28Z
last_indexed 2025-10-15T05:01:24Z
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